名所略解 (3)：Villa Farnesina, Roman.法爾內西納別墅 (羅馬) Raphael, 1483~1520: Loggia di Amor e Psyche ( 1517-1518 )

名所略解 (3)：Villa Farnesina, Roman.法爾內西納別墅 (羅馬) Raphael, 1483~1520

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法爾內西納別墅（義大利語：Villa Farnesina）是位於義大利中部羅馬特拉斯提弗列的一座修建於文藝復興時期的別墅。別墅修建於1506年至1510年期間。眾多藝術家，包括拉斐爾等都曾在別墅留下自己的作品。1577年，別墅成為法爾內塞家族的財產。現在別墅是義大利政府的財產，並且對一般遊人開放。


Villa Farnesina

Villa Farnesina in Trastevere


Wikimedia | © OpenStreetMap
General information
Town or city Rome, Trastevere
Country Italy
Coordinates 41.893611°N 12.4675°ECoordinates: 41.893611°N 12.4675°E
Construction started 1506
Completed 1510
Client Agostino Chigi


Detail of frescoes in the "Perspectives' Hall" by Baldassare Peruzzi.





Art in all its glory. (Alberto Bringas Viguri)
History of Architecture and Sculpture





Baldassarre Peruzzi
Perspective view of the Sala delle Prospettive
1515-17
Frescoes
Villa Farnesina, Roman.





Museo Immaginario Arti senza Tempo──和 Augusta Monteiro 。
2013年4月8日 ·

Baldassarre Peruzzi
Perspective view of the Sala delle Prospettive
1515-17
Frescoes
Villa Farnesina, Roma




Raphael, 1483~1520：Drawings,  tapestries 





https://en.wikipedia.org/wiki/Galatea_(Raphael)
Galatea (Raphael)

Raymond Gerges B. Abdo

RENAISSANCE ART AND ARCHITECTURE

22分鐘  · 

Raymond Gerges B. Abdo

Loggia di Amor e Psyche ( 1517-1518 )

Fresco painting by Italian renaissance master Raffaello Sanzio and his workshop

Villa Farnesina, Roma

In 1517 Agostino Chigi commissioned Raphael to decorate the ground floor loggia of the villa in which the artist had painted the Galatea a few years before.

The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop between 1517 & 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.

To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle of fresco.

We have also to mention that the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.